French, 18th century, attributed to Barthélémy-François Chardigny (1757-1813)

European private collection.

Overall the condition of this terracotta group is very good with minor surface dirt, particularly in the crevices, consistent with age and handling. There are a few minor chips to the high points and along the edges of the socle. The Satyr's proper right arm together with the Nymph's proper right forearm have been reattached. The Satyr's proper left foreleg appears to have been restored. There are stable hairline firing fissure visible at several places. There are a few minor chips along the wooden base imitating marble.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This terracotta is part of the corpus of "Clodionesque" works. Among the sculptors who were greatly influenced by Clodion, we can mention Barthélémy-François Chardigny (Rouen, 1757-Paris, 1813). Student of Christophe-Gabriel Allegrain and Augustin Pajou, First Prize of sculpture in 1782 and resident-artist in Rome, Chardigny proves a great technical mastery and a particular way to treat the surface on researching effects blending realism and idealization. The bust of Claude-François Achard, around 1791(plaster imitating terracotta, Marseilles, Academy of Sciences, letters and arts, Inv. No 69) recalls our group, notably the softness its modeling and the realism that emerges, along with the attention paid to the rendering of matter. A few years later, Chardigny executed the two terracotta representing Bacchus and Ariane Reclining (dated 1802, Paris, Drouot, 20 March 1992, lot 54). If his approach evolved endlessly, Chardigny retained his inkling for the depiction of details and the constancy of certain iconographic elements such as the tambourines and cistus blossoms here present.

RELATED LITERATURE
La Révolution française en haute Normandie, Rouen, 1989, pp. 239-240; cat. exp, Marseille en révolution, Marseille, musée des Beaux-arts, 1989, n° 173-175.